PICTURESQUE  GREECE 


HANNS  HOLDT  /  HUGO  VON  HOFMANNSTHAL 

PICTURESQUE  GREECE 


ARCHITECTURE     *     LANDSCAPE 
LIFE  OF  THE  PEOPLE 


ARCHITECTURAL    BOOK    PUBLISHING   C2 


PAUL  WENZEL  AND  MAURICE  KRAKOW 
NEW  YORK 


INTRODUCTION  BY  HUGO  VON  HOFMANNSTHAL 
(TRANSLATED  BY  L.  HAMILTON),  PHOTOGRAFS 
BY  HANNS  HOLDT,  MUNICH,  PROFESSOR  HAMANN, 
"KUNSTHISTORISCHES  INSTITUT",  MARBURG,  AND 
M.  ZACHOS,  ARCHITECT  IN  ATHENS 


PRINTED  IN  GERMANY 


IS  %% 


ARCH. 

LIBRARY 


INTRODUCTION 


Of  all  our  journeys,  that  to  Greece  is  the  most  spiritual.  Of  that  semi-sensuai 
curiosity,  ever  the  secret  underlying  base  of  so  many  journeys,  there  is  little  that 
speeds  us  on  our  way  to  Greece.  And  when,  ere  we  have  set  foot  upon  her 
shores,  she  greets  us  with  that  which  we  had  thought  of  least:  her  entrancing 
and  wholly  eastern  perfume  distilled  from  orange  blossoms,  acacias,  laurels  and 
thyme,  we  are,  for  a  fleeting  moment,  almost  startled. 

Ours  was  a  spiritual  pilgrimage,  and  we  had  forgotten  that  from  this  land- 
scape might  emanate  another  perfume  than  that  of  memories  alone.  We  con- 
front that  which  we  wish  to  see  with  too  much  spiritual  impatience.  In  us  dwell 
too  many  souls  alloying  their  aspirations  with  our  own  towards  these  hills  and 
temple  ruins.  We  arrive  lost  in  the  company  of  a  crowd  of  shadow-like  com- 
panions. But  they  desert  us  the  moment  we  step  on  shore,  sense  the  actual 
rocks  beneath  our  feet,  inhale  the  fresh  and  sunny  air.  Tis  then  we  stand  in 
the  forecourt  of  our  desires  and  feel  that  we  have  lost  our  guides.  But  a  short 
time  ago,  while  our  ship  was  sailing  the  Sicilian,  "Greater  Grecian"  main,  Goethe 
was  with  us.  We  leave  him  as  we  left  Italia's  shores.  And  suddenly  we  feel 
that  he  is  a  Roman.  The  great  head  of  Juno.  Ludovisi  intervenes  between  us 
and  him.  We  remember  that  he  never  saw  a  real  antique,  nor  a  statue  of  the 
fifth  century.  And  the  placidity  into  which,  together  with  Winckelmann,  he 
steeped  his  antiquity  js  to  us  the  condition  of  the  German  soul  at  a  certain  mo- 
ment: nothing  more.  But  also  the  great  intellectuals  of  the  last  century  who 
unveiled  a  darker  and  wilder  antiquity  —  also  their  intuition  suddenly  possesses 
no  longer  the  same  luminousness.  Burckhardt,  his  countryman  Backofen,  Rhode, 
Fuslel  de  Coulanges  —  incomparable  interpreters  of  the  dark  foundations  of 
the  Greek  soul,  bright  torches  that  lit  up  a  graveyard  world  —  yet  there  is 
something  more  here.  Here  is  no  sepulchre.  Here  there  is  so  much  light,  and 
they  never  breathed  in  this  light.  All  their  visions  are  as  the  colour  of  lead  in 
this  lustre,  and  we  leave  them  far  behind  us.  —  The  first  impression  of  this 
landscape  is  sfern,  set  foot  in  it  where  you  may.  It  casts  off  all  dreamy  visions, 
be  they  historical  or  otherwise.  It  is  dry,  close-fisted,  expressive,  and  strange  as 
a  fearful  emaciated  countenance.   But  on  it  shines  a  light  the  like  of  which  the 


132 


eye  has  never  seen  before,  a  light  that  fills  it  with  such  joy  that  it  would  seem 
the  eye  had  first  learnt  the  meaning  of  seeing  to-day.  This  light  is  at  the  same 
time  inexpressibly  mild.  It  shows  up  clearly  the  slightest  detail  with  such 
distinctness,  a  gentle  distinctness  that  sets  the  heart  beating  higher,  and  it 
surrounds  that  which  is  nearest  —  I  can  but  use  a  paradox  —  with  a  luminous 
enveilment.  It  can  only  be  compared  with  spirit.  Things  must  exist  thus  in 
a  wonderful  intellect,  so  wakeful  and  so  restful,  so  set  apart,  so  joined.  But 
how  joined?  Not  by  Stimmung.  Nothing  is  more  remote  here  than  this 
gossamer  psycho-sensual  dream  element.  —  No,  by  the  spirit  itself.  The  light 
is  bold,  and  it  is  young.  It  is  the  symbol  of  youth  penetrating  to  the  very 
core  of  the  soul.  Hitherto  I  had  looked  upon  water  as  the  most  wonderful 
expression  of  that  which  is  eternally  young.  But  this  light  is  still  more 
emphatically  so. 

They  tell  me  this  is  the  light  of  Asia-Minor,  the  light  of  Palestine,  of  Persia, 
of  Egypt,  and  I  understand  the  unity  of  history  that  has  determined  our  inner 
fate  since  thousands  of  years.  Troy,  Xenophon's  Ten  Thousand,  Cleopatra,  and 
also  Byzantine  Theodora.  All  these  thousand-year  old  adventures  become  both 
comprehensible  and  uniform  as  the  parts  of  a  single  melody.  Odysseus'  ruses, 
Platon's  irony,  Aristophanes'  impertinences:  there  is  a  wonderful  identity  in 
all,  and  the  formula  of  such  identity  is  the  light. 

Everything  that  lives  in  this  light  lives  fully  and  really:  without  hope,  without 
longing,  without  grandezza.  It  lives.  It  is  this:  "they  live  in  light".  To  leave  this 
light,  to  become  as  shadows;  it  was  this  that  was  most  dreadful.  For  this  there 
was  no  consolation.  "Rather  a  serf  there  than  Achilles  here".  —  He  who  has 
not  seen  this  light  does  not  understand  such  words  ....  From  a  hill  I  see 
somewhere  a  few  goats  on  a  slope.  Their  climbing,  the  movement  of  their  heads; 
this  all  is  real,  and  at  the  same  time  as  though  drawn  by  a  supreme  artist.  The 
air  invests  these  creatures  with  something  divine  beyond  their  animalism.  This 
light  is  the  perpetual  marriage  of  the  spirit  with  the  world.  A  steep  summit,  a 
pine-tree  or  two,  a  small  wheat-field,  a  tree  with  old  roots  clinging  to  the  riven 
rocks,  a  cistern,  an  evergreen  shrub,  a  flower:  Individually  they  have  no  aspirations 
to  blend  with  the  whole,  each  lives  unto  itself,  but  in  this  light  to  be  alone  does 
not  spell  solitude.  Here  or  nowhere  the  individual  is  bom;  but  he  is  born  to  a 
divine  and  companionable  fate.  In  this  air  one  is  magnificently  secluded  —  but 
no  more  deserted  than  one  of  the  gods,  wherever  he  might  appear  or  pass  through 
the  air.  And  here  all  creatures  are  gods.  This  pine,  beautiful  as  a  column  of 
Phidias,  is  a  goddess.  And  of  the  spring  flowers  scattering  their  perfume  and 
splendour  from  meadow-side  it  has  been  said  —  and  rightly  said  —  that  they 
stand  there  like  little  gods. 

Here,  man,  as  we  understand  him,  was  born,  for  here  harmony  of  measure 
was  born.  The  proportions  of  a  temple  remnant,  three  columns  and  a  ruined 
gable  shadowed  by  a  solitary  oak  whose  foliaged  crown  looks  heavenwards  are 
all  so  beautiful  that  they  almost  rend  our  soul,  even  as  the  deepest  harmonies 

VI 


of  music  rend  the  soul.  The  sky  itself,  the  height  of  the  apparantly  solid  dome, 
is  somehow  included  in  the  magnificent  computation.  And  when  a  man  steps 
between  the  columns,  a  peasant  seeking  a  patch  of  shade,  or  a  spot  to  eat  his 
frugal  meal,  a  shepherd  with  his  dog,  the  whole  scene  becomes  so  beautiful 
that  our  heart  swells  with  joy.  Nothing  we  know  of  their  ways,  and  manners, 
and  cult  appeals  directly  to  our  power  of  imagination.  Their  ceremonies,  as  far 
as  archaeology  devulges  them  to  us,  are  as  unpleasant  as  the  sight  of  dancers  for 
him  who  does  not  hear  the  music.  We  cannot  grasp  anything  of  their  mysteries, 
save  the  relation  of  the  human  body  to  the  stone-built  sanctuary. 

The  view  from  Acro-Corinthus  extends  to  two  seas  with  many  islands,  the 
snow-clad  summit  of  Parnassus  and  the  Achaian  Mountains.  Light  creates  out 
of  all  these  an  order  that  fills  the  heart  with  bliss.  We  know  no  better  word 
for  this  than  music.  But  it  is  more  than  music.  —  And  what  a  lesson  this  light 
gives  to  the  thoughtful  observer!  Here  is  no  exaggeration,  no  admixture.  Let  each 
one  see  for  himself.  But  see  it  in  its  pristine  purity.  Seek  not  to  discriminate, 
nor  to  group.  Each  stands  in  its  alloted  place,  the  whole  is  conjoined.  Be  calm, 
breathe,  enjoy  and  sense  your  life. 

Nothing  is  more  difficult  than  to  guess  in  this  landscape  whether  an  object 
be  far  or  near.  The  light  makes  it  distinct,  and  at  the  same  time  spiritualizes  it, 
makes  it  but  a  breath.  But  the  power  in  a  movement  at  a  distance  of  one  hundred 
and  fifty  paces  is  great.  The  beckoning  of  an  Agogiate  calls  forth  from  a  distant 
rock  crevice  the  shepherd  with  his  water  skin.  It  is  wonderful  to  think  how  in 
the  Battle  of  Salamis  the  sea  captains  issued  their  commands  on  their  gaudy 
wooden  bridges  which  never  could  have  been  conveyed  by  human  voice  through 
the  roar  and  din  of  battle,  and  how  the  Grecian  eye  seeking  the  outstretched 
hand  of  Themistocles  in  this  atmosphere  of  vibrating  silver  decided  towards 
evening  the  fate  of  the  world. 

The  Homeric  gods  and  goddesses  are  always  stepping  out  of  the  bright  light. 
Nothing  seems  more  natural  as  soon  as  one  knows  this  light.  We  are  from  the 
north,  and  the  semi-darkness  of  the  north  has  formed  our  imagination.  We  di- 
vine the  mystery  of  space,  but  we  considered  no  other  means  of  glorifying  it 
possible  than  Rembrandt's  chiaroscuro  Now  here  we  recognize  that  there  is  a 
mystery  in  full  light.  This  light  shrouds  forms  in  mystery  and  familiarity  at  the 
same  time.  They  are  but  trees  and  columns  which  meet  our  eyes  in  this  light, 
or  mayhap  the  mute  bodies  of  the  Erechtheum  Caryatides,  half  virgins,  half 
columns.  And  yet  their  corporeal  beauty  is  of  irresistible  power  in  this  light. 
But  the  gods  and  goddesses  were  statues  of  flesh  and  blood.  From  beneath  the 
heavy  and  almost  hard  forehead  the  fire  in  their  blood  glowed  forth.  And  in 
this  air  which  wraps  a  veil  of  both  awe  and  desire  around  every  form,  and  if  it 
be  but  a  blossom-laden  branch,  we  divine  the  look  with  which  Paris,  the  lonely 
shepherd,  measured  the  three  goddesses,  when  they  stepped  towards  him  out  of 
the  glittering  light,  high-breasted  in  their  pride  and  jealousy  of  one  another,  and 
ready  to  give  all  to  win  the  victor's  prize. 

VII 


What  a  situation!  —  And  does  it  not  bear  like  a  diamond,  uncrushed  by 
any  weight,  the  whole  of  the  stupendous  and  dark  happenings  of  the  Iliad?  — 
Yes,  these  myths  are  true  in  another  way  than  we  thought.  We  loved  them  as 
the  products  of  harmonious  imaginative  power.  But  there  is  more  of  magic  in 
them,  than  we  knew,  a  magic  which  enters  man's  soul  straight  from  the  actual. 
Before  the  first  rays  of  the  sun  touch  the  heights  of  Parnassus,  there  is  really 
something  of  the  colour  of  the  rose  that  floods  its  uppermost  summit.  This  colour 
is  exactly  that  of  the  living  rose-petal,  and  exactly  only  two  fingers  wide";  two 
fingers  of  a  woman  lightly  laid  on  the  bulwark  of  a  ship,  and  just  as  light  as  the 
movement  of  a  woman's  hand.  And  it  requires  here  a  lesser  effort  of  fantasy  to 
see  Eos  fly  westwards  with  rosy  fingers,  rapid  as  a  dove,  than  to  imagine  a  burning 
bush  in  the  semi-darkness  of  our  eternal  winter  afternoons. 


But  this  journey  of  ours  is  no  journey  to  the  picturesque.  We  are  searching 
here  for  one  of  the  sublime  experiences  of  humanity.  We  wish  to  place  our  hand 
on  the  sanctuary.  We  wish  to  assist  at  festivals  which,  in  their  austerity  and 
beauty,  verge  on  the  sublime.  We  wish  to  take  direct,  nay,  physical  part  in  that 
which  we  guessed  at  more  than  we  experienced  whilst  deciphering  our  Aeschylus. 
A  restless  impatience  stirs  in  us  to  discover  the  sublimely  spiritual  in  forms.  In 
this  impatience  lies  the  yearning  of  how  many  generations.  And  is  it  not  above 
all  Schiller's  bold  and  great  soul  rising  within  us?  His  visions  of  the  antique,  this 
ever-recurring  petulant  demand  to  find  somewhere  on  earth  the  incorporated 
idea  of  the  beautiful  which  his  inner  eye  was  so  strong  to  discern.  Let  us  beware 
of  confounding  these  things  with  the  irresponsible  "writings"  of  the  average  literati. 
Schiller  believed  what  he  wrote.  And  he  unfurled  his  whole  ego  like  a  far-flung 
flag  in  the  tumult  of  a  perpetual  spiritual  battle  in  which  future  and  past  are 
blended,  and  in  which  we  too  stand  somewhere. 

The  idea  of  recognizing  in  physical  traces  a  spiritual  sublimeness  loses  here 
on  the  soil  of  Greece  its  exaggeration  akin  to  arrogance.  And,  indeed,  in  this 
light  the  spiritual  is  more  embodied  and  the  physical  more  spiritualized  than 
elsewhere  in  the  world.  If,  under  these  skies,  we  turn  over  the  leaves  of  one  ot 
Pindar's  odes  glorifying  a  pugilistic  combat,  the  battle  itself  and  the  gigantic 
struggle  issues  forth  into  the  very  middle  of  this  silver  flame  of  poetry.  The 
Olympic  plain  where  they  met  brings  into  close  relationship  Athens,  of  which 
we  think  we  know  so  much,  and  Sparta,  of  which  we  know  so  little.  We  sur- 
mise that  they  were  both  Greeks,  and  that  their  locked  embrace  and  the  mortal 
combat  that  slew  them  both  was  Greek  life  in  its  highest  sense.  Our  faded 
Winckelmann  vision  which  drew  the  beautiful  too  near  to  the  charming,  and  to 
an  ennervated  charmingness  at  that  —  too  near  to  Canova!  —  a  vision  that  still 
lives  in  us  somewhere  has  made  us  forget  how  closely  beauty  and  strength,  as 
well  as  strength  with  all  that  is  terrible  and  threatening,  to  life  are  related:  how 
could  it  otherwise  bring  life  to  its  knees? 

VIII 


But  here,  before  these  stupendous  remains  we  recollect  that  Castor  and  Pollux 
were  Helen's  brothers,  that  they  were  robbers  of  women  and  mighty  fighters. 
If  we  think  of  Antigone  here,  we  swear  she  was  a  sister  of  Achilles,  and  the  de- 
fiance with  which  she  met  her  king  is  of  no  less  force  than  that  of  Thetis'  son 
who  stayed  in  his  tent  in  spite  of  the  commander  and  a  hundred  princes.  These 
nameless  ephebes,  these  "dew  sisters"  from  the  Acropolis,  these  Corai  virgin 
priestesses,  dug  up  from  the  ruins  of  Persian  destruction,  are  magnificent  beings, 
and  powerful  ones  withal.  There  is  something  unactainable  about  them,  some- 
thing more  incomprehensible  than  the  most  beautiful  Gothic  figures.  And  also 
something  more  complete.  Yet  never  before  were  the  spiritual  and  physical  within 
us  so  moved  in  the  deepest  roots,  where  they  are  united,  by  the  sight  of  the  physical. 
This  completeness  is  the  last  word  of  the  culture  in  which  we  are  rooted.  Here, 
neither  the  Occident  nor  the  Orient  are  alone,  and  we  belong  to  both  worlds. 

Perhaps,  with  a  romantic  eye,  we  still  conceive  a  complete  figure  that  rises 
up  in  marble  before  us.  Perhaps  we  vest  it  with  too  much  of  our  consciousness, 
of  our  "soul".  Let  us  be  careful  not  to  confound  the  infinitely  different  worlds. 
But  even  a  cool  and  yet  very  attentive  look  fixed  on  one  of  these  relics:  an  arm 
with  a  hand,  a  half-nude  shoulder,  the  knee  of  a  goddess  under  a  flowing  garment, 
even  this  cool  look  which  refuses  any  share  of  harmonious  contact  with  this  art 
feels,  after  a  few  seconds,  absolutely  in  tune  with  this  conception  of  completeness 
in  which  both  spirit  and  senses  have  an  equally  wonderfully  harmonious  part. 
These  hands,  as  beautiful  as  they  are  strong,  and  so  unostentatious  of  strength 
or  beauty,  how  they  justify  Anaxagoras'  words:  man  is  the  cleverest  being  be- 
cause he  has  hands.  And  how  freely  the  voo?  of  Anaxagoras  moves  in  these 
wonderful  organs  of  the  body.  They  are  indeed  organs,  tools,  but  not  blunt  ones; 
and  are  no  less  spiritual  than  words.  The  sight  of  these  supple,  powerful,  clever 
princely  limbs  reveals  to  us  the  philosophical  language  of  the  Greeks  flashing  like 
a  chain  of  mountain  peaks.  Verily,  here  the  spiritual  and  physical  footsteps  lead 
along  the  same  path,  and  they  all  lead  to  the  lion's  den. 

o 

Greek  landscape,  as  it  is  to-day,  may  be  disappointing  when  first  seen.  But 
it  is  only  the  first  glance  that  disappoints.  Present-day  Greece  is  a  woodless 
country,  and  has  thus  a  certain  hardness  in  its  outlines,  which,  it  is  true,  is 
bathed  in  the  life-giving  light.  In  vain  we  search  for  the  "swelling  hills"  which 
enchanted  Fallmerayer,  when  gazing  across  the  country  from  the  shore,  or  the 
chestnut  thicket,  and  the  platanes  and  oaks  interspersed  with  a  thousand  bushes, 
into  which  he  descended  from  a  mountain  cliff.  But  the  swelling  hills  were  near 
Trebizond,  and  he  looked  into  the  woods  from  the  summit  of  Athos.  Still  to- 
day  the  peninsula  of  Volo  —  for  centuries  the  forest  reserve  of  the  Dowager- 
Sultaness  —  has  its  famous  chestnut  woods;  all  this  lies  outside  of  Greece-proper. 
But  Attica  had  only  one  little  wood  left,  and  this  was  set  on  fire  during  the  war 
to  remove  the  King  whose  country-house  was  situated  in  its  midst.   The  erst- 

IX 


while  "leafy  Boeotia"  is  a  stony  basin  with  here  and  there  a  wheat-field  and  an 
olive-grove.  But  this  hard  and  parched  landscape  has  elements  of  beauty  in  it, 
the  memory  of  which  never  fades. 

I  have  not  set  foot  on  the  soil  of  Sparta,  and  I  have  only  seen  the  summit 
of  the  Taygetus  glittering  in  the  air,  but  at  intervals  of  years  I  have  read  more 
than  once  the  pages  Maurice  Barres  wrote  about  it,  and  which  are  the  most 
beautiful  words  in  the  beautiful  book  he  calls  the  "Journey  to  Sparta".  They 
are  the  most  complete  example  of  a  description  which  is  both  enthusiastic  and 
restrained  at  the  same  time.  They  depict  a  mountain -range,  and  at  the  same 
time  the  soul  of  an  uncommon  man  who  sees  these  mountains.  The  jagged  sum- 
mits and  the  crevices  of  the  Taygetus  spoke  a  language  to  this  politician,  this 
intellectual  and  visionary,  to  completely  grasp  which  his  soul  was  tuned.  Nothing 
can  be  less  vague  and  sentimental  than  the  first  striking  effect  the  view  of  this 
mountain -range  has  upon  him.  The  Taygetus  affects  him,  as  young  Achilles 
hidden  among  the  women  of  Scyros  was  affected  by  the  sudden  sight  of  spear 
and  lance.  His  description  is,  like  the  work  of  a  true  author,  unique  and  un- 
translatable. I  feel  how  I  spoil  it,  and  yet  I  cannot  resist  inserting  here  the  para- 
graph 1  have  in  mind  for  the  sake  of  that  which  it  deals  with. 

"The  valley's  breadth  of  Lacedaemon  through  which,  as  a  little  river,  the 
Eurotas  wends  its  way  along  its  too  broad  gravel  bed  is  confined  to  the  east  by 
the  Menelaion  Mountains  and  to  the  west  by  the  Taygetus.  It  is  but  a  few  miles 
broad,  and  its  course  is  ever  winding.  Little  laughing  vales  run  southwards  be- 
tween hard  hills.  This  sinuosity  calls  forth  the  soul;  and  the  onward  flow  blends 
well  with  the  reddish  Menelaion  which  rises  up  in  pathetic  terraces.  But  all  this 
romanticness  recedes  far  from  the  peaceful  sublimity  of  the  Taygetus. 

The  Taygetus  range  rests  on  a  mighty  base  showing  dark  folds  to  the  eye. 
Cutting  into  its  lower  regions  are  deep  crevices  filled  with  blue  gloom  and  woods; 
tall  cliffs  and  strong  bastions  are  its  forts.  These  mighty  outworks  are  pushed 
far  into  the  plain  as  though  ready  to  attack,  and  on  the  slopes  are  single  villages 
that  seem  like  dying  heroes  sinking  wounded  to  the  ground.  On  such  a  foun- 
dation dread  precipices  rise  up,  and  above  these,  as  a  third  zone,  the  region  of 
glaciers  and  avalanches  rises,  and  yet  as  highest  above  these  the  chain  of  steep 
ordered  summits  ranges  itself  admirably  in  its  multiplicity  of  forms  ....  What 
power  and  greatness  lies  in  the  upward  course  of  this  elevation.  How  calmly 
it  rests  its  weighty  bulk  upon  the  plain  that  caresses  its  feet  voluptuously,  and 
how  it  points  its  seven  snowy  caps  skywards!  The  boldness  of  a  writer  will 
never  be  able  to  do  justice  to  this  brillancy  and  this  forceful  power,  never  be 
able  to  correctly  depict  these  decisively  pure-toned  colours  that  spurn  every  dis- 
cordant shade,  nor  the  grandiose  essential  differences  as  they  calmly  range  from 
where  the  orange  grows  up  to  the  sparkling  ice-walls." 

I  shall  not  attempt  to  place  next  to  these  lines  a  second  description  having  the 
heroic  of  the  Greecian  landscape  for  its  theme.  They  tell  us  all  that  one  can  be 
said  about  this  landscape  without  digressing  into  the  romantic.  And  it  is  on  the 

X 


slopes  of  the  Taygetus  that  our  imagination  —  and  that  of  Goethe  too  —  sets 
the  stage  for  the  marriage  of  Faust  and  Helen.  But  I  once  attempted  to  describe 
a  more  gentle  element  of  this  landscape,  and  one  that  is  often  repeated,  so  that 
those  who  have  travelled  in  Greece  may  be  reminded  of  this  or  that  landscape. 
I  mean  the  approach  at  eventide  to  some  solitary  monastery.  And  I  will  recall 
both  for  myself  and  those  who  read  these  lines  that  still  vivid  description  of  that 
tender  scene. 

"We  had  ridden  this  day  nine  or  ten  hours,  and  had  encountered  nought  in 
the  flat  stony  hollow  of  the  sloping  mountain  valley  save  once  in  a  while  a 
shepherd  with  his  flock,  or  a  tortoise  crossing  our  path  from  underneath  small 
sweet-smelling  shrubs.  Towards  evening  we  saw  a  distant  village,  but  we  left  it 
behind.  Then  we  heard  the  sound  of  sheep-bells  both  near  and  far,  and  our 
mules  mended  their  pace  and  inhaled  the  perfume-laden  air  that  came  from  the 
narrowing  vale:  the  perfume  of  acacias,  strawberries  and  thyme.  We  felt  how 
the  bluish  mountains  closed  in  on  us,  and  that  this  valley  was  the  end  of  the  whole 
wav.  For  a  long  time  we  rode  between  two  wild-rose  hedges,  and  then  between 
low  walls  behind  which  were  fruit  gardens.  An  old  man  a  with  gardener's  knife 
in  his  hand  was  wading  breast-deep  in  blossoming  hedge-roses.  The  monastery 
was  sure  to  be  quite  near,  and  we  were  surprised  not  to  see  it.  Suddenly  a  door 
opened  in  the  wall  on  our  left,  and  a  monk  was  leaning  in  the  doorway.  He  was 
young,  had  a  fair  beard  cut  in  a  manner  that  reminded  one  of  Byzantine  portraits, 
a  Roman  nose,  and  unsteady  blue  eyes.  He  greeted  us  by  bowing  and  stretching 
out  both  arms.  We  dismounted  and  he  preceded  us.  We  entered  a  passage,  and 
into  a  room,  and  saw  that  we  were  in  the  middle  of  a  monastery.  It  was  built 
into  the  mountain,  and  our  room,  which,  entered  from  the  garden,  was  on  a 
level  with  the  ground  and  two  stories  high  over  the  courtyard.  The  old  church, 
with  the  glory  of  the  evening  light  upon  its  thousand  years  old  reddish  walls  and 
cupolas,  enclosed  one  side,  and  the  other  three  were  composed  of  such  houses 
as  the  one  we  stood  in,  and  the  little  balconies  were  light  blue  or  yellow,  or  blue- 
green.  Peace  reigned  everywhere,  peace  and  joy  sweetened  by  the  perfume  of 
flowers.  Below,  a  fountain  was  plashing.  Monks  in  long  black  garments,  their  high 
black  cowls  covering  handsome  faces  adorned  with  jet  black  beards  passed  across 
the  yard  and  vanished  through  the  church-door,  or  they  were  leaning  over  bal- 
conies, or  passing  down  an  open  stairway.  Half-loud  voices  in  the  church  were 
beginning  to  sing  the  psalms  set  to  an  old  melody.  The  voices  rose  and  sank, 
and  there  was  something  infinite,  equally  far  from  sorrow  as  from  joy,  something 
solemn  which  seemed  to  come  from  eternity  and  continue  to  sound  forth  thus 
into  eternity.  Across  the  yard  the  boys'  voices  echoed  the  melody  which  drifted 
through  an  open  window'....  We  were  in  the  midst  of  the  present,  and  we  were 
surrounded  by  the  sacred  customs  of  the  Oriental  Christian  Church  But  the 
gestures,  the  sublimeness,  the  language,  and  even  the  rhythm  of  the  obeisance 
-  the  proskynese  —  is  Byzantium,  and  is  older  than  Byzantium  The  little  owls 
were  calling  in  the  garden,  the  cicadas  began  their  chirp;  where  the  evening  star 

XI 


hung,  the  ridge  of  Parnassus  was  shining  invisible  behind  dark  mountains,  and 
there  in  the  flank  of  the  mountain  lay  Delphi.  Nowhere  were  we  apparently 
further  from  that  sunken  world,  and  never  indeed  so  sentiently  near.  And 
when  the  head  of  a  beautiful  choir-boy  appeared  at  an  open  window,  graceful 
and  self-confident,  one  who  had  echoed  the  sacred  melody  before,  nothing 
was  more  natural  than  to  confound  him  with  another,  and  to  vest  another  form 
with  these  customs  which  seemed  to  us  mysterious  and  yet  comprehensible. 
And  never  a  shadow-like  picture,  at  least  of  grey  antiquity,  was  so  tangibly  near 
as  when  —  in  the  Phocaen  temple  vestibule  —  we  believed  for  a  moment 
we  saw  in  the  body  Sophocles'  boy  Ion,  and  thought  we  breathed  the  same  air 
with  him. 


XII 


TABLE     OF     CONTENTS 


i. 

2. 

3. 
4. 

5. 

6. 

7. 

8. 

9. 
10. 
11. 

12. 

13. 

14. 

15. 
16. 

17. 
18. 

19. 

20. 
21. 
22. 
23. 
24. 
25. 
26. 

27. 

28. 
29. 
30. 
31. 
32. 
33. 
34. 

35. 
36. 
37. 


In  the  Parthenon,  looking 

Parthenon,  eastern  part 

P.irthenon,  eastern  corner 


Athens.  Capital  from  the  Propylaea 
Athens.  Acropolis.  Propylaea  from  the  north- 
east 

Athens.  Acropolis.  Capital  from  the  Propylaea 
Athens.  Acropolis.  View  through  the  Pro- 
pylaea from  the  south-east 
Athens.  Acropolis.  View  through  the  Pro- 
pylaea to  the  Nike  Temple 
Athens.  Acropolis.  Nike  Temple  from  the 
north-east 

Athens.  Acropolis.  Erechtheion  from  the  south- 
west 

Athens.  Acropolis.  Hall  of  the  Caryatides  of 
the  Erechtheion 

Athens.  Acropolis.  Erechtheion,  north  hall 
Athens.  Acropolis.  Parthenon  from  the  west 
Athens.  Acropolis.  Parthenon  from  the  north- 
west 

Athens.  Acropolis, 
towards  the  east 
Athens.  Acropolis, 
from  the  north 
Atluns.  Acropolis, 
from  within 

Athens.  Acropolis.  Parthenon,  corner  ofgable 
Athens.  Entrance  to  the  Odeum  of  Herodes 
Atticus  with  view  of  Nike  Temple 
Athens.  Interior  of  the  Odeum 
Athens.  Arch  of  the  Odeum  seen  from  entrance 
of  the  Acropolis 

Athens.  View  of  the  Acropolis  from  roof  of  the 
Castle 

Athens.  Acropolis  from  the  north-west 
Athens.  Acropolis  from  the  west 
Athens    Head  of  a  girl 
Athens.  Head  of  a  youth 
Athens.  Theatre  of  Dionysus 
Athens.  Theatre  of  Dionysus 
Athens.  View  of  Athens  from  the  Acropolis 
with  Lycabettus  Mts. 

Athens.  View  from  the  Acropolistowards  Mount 
Hymettus. 

Athens.  Olympieum  from  the  south 
Athens.  Olympieum  from  the  east 
Athens.  Olympieum  from  the  west 
Athens.  Archway  in  the  Roman  Market 
Entrance  of  the  Theseion 
The  Theseion  from  the  west 
Roman  Market  with  the  Tower  of  the 


Athens. 

Athens. 

Athens. 

winds 

Athens. 

Athens. 

Athens. 


Small  Metropolis  9th — 12th  century 
Relief  on  the  small  Metropolis 
Relief  on  the  small  Metropolis 


38.  Athens.  Relief  on  the  small  Metropolis 

39.  Athens.  St.  Sotere  at  the  foot  of  the  Acropolis 

40.  Athens.    Entrance  to  the  church  of  Panagia 
Megalo  Monastiri 

41.  Athens.  Panagia  Megalo  Monastiri  church 

42.  Greek  woman  in  ancient  national  costume 

43.  Greek  woman  in  ancient  national  costume 

44.  Greek  woman  in  ancient  national  cosiume 

45.  Dance  of  the  body-guard 

46.  View  from  Caesariani  towards  Athens. 

47.  Sunion.  'Column  Cape' 

48.  Sunion.  Temple  of  Poseidon,  entrance 

49.  Sunion.  Temple  of  Poseidon 

50  Caesariani  Convent  on  Mt.  Hymettus 

51.  Daphni.  Convent  ca.  1100 

52.  Daphni.  Convent  Yard 

53.  Caesariani  Convent  Church 

54.  Daphni 

55.  Daphni 

56.  Daphni.  Interior  of  the  Church 

57.  Daphni.  Mosaik  in  the  Cupola  ca.  1100 

58.  Isthmus  of  Corinth  Canal 

59.  Corinth.  Roman  Market  with  Acrocorinthos 

60.  Corinth.  Apollo  Temple,   interior  from  the 
north-east 

61.  Corinth.  Apollo  Temple  from  the  south-west, 
6ih  century  B.C. 

62.  Corinth  Source  House  of  the  Peirene,  Entrance 

63.  Corinth.  Interior  of  a  Peasant's  House 

64.  Corinth.  Source  House  of  the  Peirene 

65.  Corinth.  Glauke  Source 

66.  Acrocorinthos  Castle 

67.  Acrocorinthos  Castle.      View   from   interior 
towards  1st  Gateway 

68.  Acrocorinthos  Castle.    View  from  the  heights 
towards  the  south 

69.  Acrocorinthos.  View  from  the  heights  towards 
the  north,  gulf  of  Corinth 

70.  Mycenae.  View  of  the  Citadel  from  the  south 

71.  Mycenae.  The  Cupola  Tomb 

72.  Lion  of  Chaerontia 

73.  Apollo.  Temple  of  Bassae 

74.  Nauplia 

75.  Fortified  island  near  Nauplia 

76.  Byzantic  Ruins  with  Taygetos  Mts. 

77.  Sparta  with  Taygetos  Mts. 

78.  Vegetation  near  Nauplia 

79.  Vegetation  near  Olympia 

80.  Mistra.  Pantanossa  Convent 

81.  Mistra.  Interior  of  the  Church 

82.  Mistra.  Interior  of  the  Church 

83.  Mistra.  Interior  of  the  Church 

84.  Mistra.  Relief 


XIII 


85.  Mistra.  130. 

86.  Mistra.  Citadel  Walls 

87.  Mistra.  131. 

88.  Olympic.  Two  Columns  of  the  Temple  of  132 
Hera  133. 

89.  Olympia.  Field  of  Excavations  134. 

90.  Olympia.  Bed  of  the  Cladeos  135. 

91.  Olympia.  Field  of  Excavations  136. 

92.  Olympia.  Aphrodite,  small  head 

93.  Olympia.  Athena  head  (from  a  metope)  137. 

94.  Olympia.  Hermes  of  Praxiteles  138. 

95.  Olympia.  Nike  of  Paeonios,  420  B.  C.  139. 

96.  Olympia.  Hercules  (from  a  metope)  140. 

97.  O  ympia.  Athena  (from  a  metope)  141. 

98.  Patras.  Harbour  142. 
99    Bayofltea  143. 

100.  View  from  Delphi  towards  Itea  144. 

101.  Delphi.  Circular  Building  for  presents  of  145. 
incense  from  Argos  146. 

102.  Delphi.  Apollo  Temple 

103.  Delphi.  Pedestal  of  a  Statue  of  Triumph  147. 

104.  Delphi.  Hall  of  the  Athenians 

105.  Delphi.  Sacred  Path  with  Treasure  House  of  148. 
the  Athenians  149 

106.  Delphi.  Head  of  the  Charioteer 

107.  Delphi.  West  Gable  of  the  Treasure  House  150. 
of  the  Cnidians,  6th  century  B.  C.  Struggle  151. 
between  Hercules  and  Apollo  for  the  Delphic  152. 
Tripod  153. 

108.  Delphi.  View  from  the  Athenian  Treasure  154. 
House  155. 

109.  Delphi.  Column,  with  view  of  theGymnasium  156. 
and  Marmarion  157. 

110.  Delphi.  Stadium  with  the  Shining  Rocks  158. 

111.  Delphi.  Stadium  General  view  159. 

112.  Araehova.  160. 

113.  Parnass.  161. 

114.  Hosios  Lucas  Convent,  Yard  162. 

115.  Hosios  Lucas  Convent  163. 

116.  Hosios  Lucas  Convent,  Cupola  164. 

117.  In  Hosios  Lucas  Convent  165. 

118.  Hosios  Lucas  Convent,  Byzantine  Capital 

119.  Hosios  Lucas  Convent,  Angel  Mosaic  166. 

120.  Chalcis.  Byz.  Lion  Relief  167. 

121.  Chalcis.  Mosque  168. 

122.  Pharsalus.    Mediaeval  House  169. 

123.  Pharsalus.    Spring  170. 

124.  Volo.    Painted  Tomb  171. 

125.  Theseus  and  Antiope  from  the  Pediment  of  172. 
the  Apollo  Temple  in  Eretria  173. 

126.  House  in  Ana- Volo  174. 

127.  Shepherd  Boy  175 
128    Cloister  in  Demeril 

129.  Macrinitza,  Fountain  176. 


View  from  the  Pelion  slopes  to  the  Gulf  of 

Pagasae,  Iolcus  hill  to  the  left 

Macrinitza  on  Pelion 

Village  of  Kastraci  with  Meteora  Rock 

Meteora  Rock  from  the  north 

Deserted  Meteora  Convent  on  Rocks 

Village  of  Kastraci 

Meteora.    View  from  Hag-Barlaam  towards 

the  south 

Meteora  Convent,  founded  1388 

Arta 

Arta 

Arta.  Capital 

Lion  Relief  from  Saloniki 

Kastorias 

Baba.    Temple  Valley 

Saloniki.  Interior  of  St-  Demetrios 

Saloniki.  Turkish  Graves 

Saloniki.  Transept  of  the  Hagia  Sophia  5th 

century 

Saloniki    St.  Demetrios,  Renaissance  Tomb 

of  Lucas  Spandonis 

Saloniki.  Turkisli  Mosque 

Saloniki.  So-called  "Rotunda"  (St.  George's 

church)  with  Minaret  and  Turkish  Tombs 

Saloniki.  Hagia  Sophia  5th  century 

Saloniki.  Babtisterium 

Saloniki.  Tschaurch,  Monastir 

Saloniki.  Street  Scene 

Leukos.  Hagios-Nicolas  Source 

Koriu.  Eastern  Coast  with  Pontikonisi  Isle 

Leukos.  Western  Coast 

Leukos.  Vlicho  Harbour  from  the  south-west 

Aegina.  Aphaia  Temple. 

Aegina.  Aphaia  Temple. 

Aegina.  View  from  AphaiaTemple  to  the  sea 

Delos.  Theatre. 

Naxos.  Naxia,  the  Capital 

Syra.  (Hermupolis)  Palaeo-Syros 

Thera.  Phira  from  the  south 

Thera.  Phira  from  the  north  with  St.  Elias 

Castle 

Thera.  Windmill  in  Merowigli 

Thera    In  the  Harbour  of  Phira 

Thera.  In  the  Hosios  Elias  Convent 

Thera.  Ascent  to  Pira. 

Thera.  Convent  Street  St  Elias 

Thera.  Nuns'  Convent  in  Skaros 

Chios.  Street 

Chios.  Street 

Crete.  Palace  of  Phaistos,  Hall  and  Staircase 

Crete.    Palace  of  Phaistos,  the   two    great 

Staircases 

Crete.  Palace  of  Phaistos 


XIV 


Athen 

Kapltell  von  don  Propylaen 


Athene3 

Chepiteeu  des  Propyiees 


Athens 

Capital  from  the  Propylaea 


Athen  Athens 

Akropoils     Propyl&en  von  Nord-Ost  Acropolis.    Propylaea  from  the  north-east 

Athenes 

L'Acropole.    Propylees  du  nord-est 


Athen  Athens 

Akropolls.     Kapitell  von  don  Propytaen  Acropolis     Capita)  from  tha  Propylaea 

Athenes 

L'Acropoia.    Chapitaau  des  Propylees 


Athen 

Akropolls.    Durchbilck  durch 
die  Propylaen  von  SGd-Ost 


Athens 

Acropolis.    View  through  the  Propylaea 
from  the  south-east 


Athenes 

LAcropole.    Coup  d'oell  par  les  Propylees 
du  sud-est 


e 
Q 

E 
x 


01 


■ 
I 

JS& 

C    *- 

r  • 

D 
0 


> 


0 

•1 


X 

I 


a 
£ 
5 


<l 


a 
£ 

Z 
«- 

3 

a 

c 
c 

1 

C* 

a>  2 
x:  a 


£ 
O 

c 

D 

0 


3 
> 


<U 


0 

i 
L 

t 
o 

c 

0 

c 

E 
(0  o 
c  £ 

(D   o 
r  a 

■ 
x 


o 
a 
o 


O 

TJ 
O 

z 
c 

0 
> 


c 

(D 

r 


i 


o 
a 
o 

< 


2 


(0  2 

c  - 

<i 

o 

UJ 


0 

a 


* 


: 

? 
V 

3 
■ 

■o 

? 

£  c 

(D  o 
C  « 

5  J 


a 

E 
o 
< 

1j 


■■■^^^H^^^^H^^fll 


IH^HH^MVIHM^H 


a 

(0 

c 
p 
> 

eg 

22 


o 
a 

g 
< 


Athen 

Akropolls.     Karyetlden  -  Halle 
des  Erochthelons 


Athens 

Acropolis.  Hall  of  the  Caryatides 
of  the  Erechthelon 


Athenes 

L'Acropoie.    Galerle  de  cariatides 
de  I'Erechthelon 


8 


Akropolls. 


Athen 
Erachthelon,  Nordholle 


Athenes 

L'Acropole.     LErechthelon. 
golerte  du  nord 


Acropolis. 


Athens 

Erechthelon,  north  hall 


1 
r 

£ 

o 

B* 

C  c 
©  o 

£  ? 

<f 

£ 


o 
a 
o 

c 

0 

< 


p 

I 

? 
> 


c 
in  ° 

2i 

<  » 


g 


10 


0 


tn  o 
c  £ 

J?  c 
-C  o 

<  e 

£ 

r 
I 


o 
a 

o 

c 
u 
< 


I 


0 

c 

3 
T> 

3 
> 


It)  r 

<D  o 

C  C 

r  t 


I 

9 
I 


0 


o 

z 

c 
p 
> 

£  E 

<D   O 

a 
a. 


< 


Tl 


0 

i 

01 

c 
x 
o 

0 

c 

0 

c  • 

<D  § 

<a 


0 

a 
o 

a 

< 


c 
o 

c 

U)  f 

£  « 
/©  a. 

<< 
I 

0 

i- 

<° 


c 

£ 

« 
0 

£ 
0 
9) 

C 

C   C' 

d)  o 
<  £ 

10 

£ 


0 

a 
o 

< 


12 


£ 

r 
o 

c 

o 
£ 

a 


§ 

c 
£ 


1 

C 


o 
a 

o 
c 
u 
< 


0 

c 

V 


I 


£ 


I 

2 


c 

0 

o 

z 

c 
o 
> 

e 
I- 

k 

c 

C  § 

(D   * 

ro 

<c 
o 

c 
• 

c 


a 

o 
o 


13 


Athen 

Akropolls.    Parthenon. 
Ostecke  von  Innen 


Athens 

Acropolis.    Parthenon, 
eastern  corner  from  within 


Athenes 

L'Acropole.    Le  Parthenon, 
coin  oriental,  vu  de  linterleur 


14 


• 
a 
o 
a 


L 

a 

o 

c 
o 

c 

IT 

E 

0 

a 


o 

a 

2 
I 
< 


| 

3 
T> 

C 

8 

c 

3 
*    £ 

<n  o 
0  £ 
c  r 


R 

8 
u 

< 


! 
i 
i 


C  c 
4)  ° 


a 

8 


15 


I 


■MES 


*-"•»•* 


Athen 

Elngang  des  Odelon  des  Herode9 
Attlcus  mit  Blick  auf  Nlkotempel 


Athens 

Entrance  to  the  Odeum  of  Herodes 
Attlcus  with  view  of  Nike  Temple 


Athenes 


Entree  de  I'Odeon  de  I'Herode  Attlque 
avec  vue  sur  le  temple  de  Nike 


16 


Athen 

Inneres  des  Odelon 


Athens 

Interior  of  the  Odeum 


Athenes 

Interieur  de  l'Od£on 


17 


Athen 

Bogen  des  Odelon.vom  Aufgang  zuf 
Akropolis  aus 


Athens 

Arch  of  the  Odeum  seen  from  entrance 
of  the  Acropolis 


Athenes 


Clntre  de  I'Odeon,  vu  de  lentree 
sur  I'Acropole 


18 


c 

0 

< 


(D  £ 

£| 

p 

E 

D 

< 

r 

o 
J 


U 
3 
t 


8* 
if 

r  q 

<  » 

.1 

2 
a 
< 


L 

u 

c 

g 

E 
5 


o 

Q 

0 

X 

< 

V 


I 


19 


» 

! 

t 
0 

c 
<o  o 
C  r 
<D  - 
£  E 
3  | 


o 
a 
o 


0 

< 


m  c 

C   TJ 

r  d 

<:- 

0 

a 
o 

3 


<  > 

0 

a 
o 


20 


c 

■ 
in  £ 

h 

<$ 
0 

a 
o 


t 

(0  v 


c 
f 
r 


c 
■ 

r 

I 

C 

| 
& 

2 


21 


Athen 

Madchenkopf 


Athens 

Head  of  a  girt 


Athenes 

Tete  do  jeune  fllle 


22 


Athen 

J  ungllngskopf 


Athens 

Head  of  a  youth 


Athenes 

rate  do  jeune  gargnn 


33 


i 

<n  o 
r  o 


< 


> 

c 
<n  o 

©6 

4_»     <d 

-0 

£ 

I- 


1$ 

£  8 
<  £ 

c 
0 

Q 


24 


s 
I 

£o 
I, 

i 


> 

c 
in  o 
ID  0 

ID  v 

h 


■ 

Si? 

II 

c 
o 
0 


25 


3 

0 
0 


<  id 


£ 
o 

■ 
c 

£ 

< 
0 

? 

I 

> 


n 
0 
8 

II 
n 

0 

>. 


c 

0) 

r 


o 
a 
o 

< 

v 
>' 

0 


26 


3 
| 

e 

E 
>> 

I 

c 

3 
0 

2 

• 

0 
i 

0 


0 

a 

2 
o 
< 

6. 

E 

o 

S 

> 


& 


■ 

> 


>» 

I 

C 

a 
| 

o 
a 

8 

< 

TJ 
> 
X 

a 

3 


27 


I  2 

<  E 

3 
J 

a 

E 
> 

0 


c 

0 

•5 
E 

(D  v 
C   * 

o 

■4) 

a 

E 
>. 

0 


c 

0 

c 
V 

a 
c  in 

© 

r  c 

<  b 

a 

E 
> 

0 


28 


a 
a 

o 

■ 

an  2 

z  - 

<l 
a 
a 
£ 

>> 
0 


■ 

<n  c 

c%5 
,<s 
r  c 

<  « 

a 

E 

0 
•J 


C  c 
<D  § 

Is 

c 
a 

E 
> 

0 


29 


Athen 

Olymplelon  von  Westen 


Athens 

Olympieum  from  the  west 


Athenes 

L'Olympeion.    Vue  de  I'ouesl 


30 


1 

a 

c 
i 
<o  £ 
C  o 
D  a: 
r  a 

c 
> 

0 

r 
p 


c 
1 
£ 


a- 
2 

2 
C 


o 

a 


c 

I 

c 
1 

£ 

■ 

g 

c 

t 
1 

0 

I- 


31 


Athen 

Eingang  zum  Theselon 


Athenes 

Entree  dg  Theselon 


Athens 

Entrance  of  the  Theselon 


32 


i 

«  - 

C  £ 

q>  o 

r  * 

<8 

I 

■ 

r 


i 


I 

p 

(0   • 

n 

] 


c 


33 


V 

E 

i 
■ 

X. 


e 

(0  o 
C  F 
<D   ID 

r  £ 

<i 
s 

c 

c 
0 

2 


c 

e 

0 

t 


•<D 

C 

r 


■D 
C 


a 
■o 


<D  « 

<l 

5 

k 

r 
o 
in 


34 


^ 

2 

% 

o 


£.  a 

2 

e 
E 


| 

u 


(0    • 
?<* 

*| 

I 

2 


I 


t 
I 

J 

I 

£ 

e 


1 
8 

c 

i 


35 


Athen 

Relief  on  der  klelnen  Metropolis 


Athens 

Relief  on  the  small  Metropolis 


Athenes 

Relief  a  la  petite  Metropole 


36 


Athen 
Relief  an  der  klelnen  Metropolis 


Athens 

Relief  on  the  small  Metropolis 


Athenes 

Relief  a  la  petite  Metropole 


37 


o 
a 

2 

c 

<"  % 
c   c 

r  " 

c 

0 


I 

i 


0 

a 
9 

•0? 

n  a 

<-« 


I 


a 

2 
• 

5 

c 

C   • 

(D  ■£ 

™l 
<  fa 

X) 

c 

10 


38 


a 

g 
< 

£ 

(D   0 

C  M 

*  8 


s 

tf 


a 

2 
u 
4. 

<n  • 

O  • 

r  q 

*2 


a 

2 

X 

< 


(D  S 

r  3 
5  u- 


£ 

c 

J 

I 


39 


Athen 

Eingang  zur  Kirche  Panagla 
Megalo  Monastlrl 


Athens 

Entrance  to  the  church  of  Panagla 
Megalo  Monastirl 


Athenes 

Entree  de  I'egllse  Panagia  Megalo  Monastlri 


40 


L 

B 

t 
s 
• 

C    O 

ID  2 
£  o 
<f  « 

o 

c 

f 


■ 
a 
c 
o 

•  g 

®  2 

\ 
I 


cS 

(D  • 

r  2 

<  s 
o 

c 
• 
a 

r 
g 
2 


41 


Athen 

Grlechln  In  alter  Natlonaltracht 


Athens 

Greek  woman  in  ancient  national  costume 


Athfenes 


Femme  grecque  dans  I'ancien  costume  national 


42 


•  • 


Athen  Athens 

Griechln  In  alter  Natlonaltracht  Greek  woman  In  ancient  national  costume 

Athenes 

Femme  grecque  dans  I'anclen  costume  national 


43 


Athen  Athens 

Grlechln  In  alter  Natlonaltracht  Greek  woman  In  ancient  national  costume 

Athenes 

Femme  grecque  dans  I'anclen  costume  national 


44 


SI 

<: 

0 


3 

■o 

ID   | 

<-: 

■o 


0  • 

£.  -> 

<l 

N 

c 
■ 


45 


c 
1 

X 


■ 

1 

tl 

■ 
■ 

u 
E 

0 

C 

J 
> 


Jl 


■ 
r 


■ 
c 

c  » 
©  c 

■C  5 

c 

0 

> 

X 
0 


46 


c 
5 

c 

3 

£:» 

0    Q 

E 

3 


C 
2 

c 

: 

c 


<=l 


3 

c 

3 

5 


c 

0 

c 

3 

cf 

•   0 

3 


47 


Athen  Athens 

Sunlon.    Poooldon-Tempol.    Elngong  Sunlon     Temple  of  Poseidon,  entrance 

Athenes 

Sunlon.     Entree  du  temple  de  Poseidon 


48 


Sunion 

PoaeWon-Tempel 


Sunion 
Temple  of  Poseidon 


Sunion 

Tempi*  de  Poseidon 


49 


E 
>» 

I 


> 
fc 

o 
u 

c 

10 

t 

0 


I 
U 


c 

V 

1 

e 
> 

3 
O 

U 


£ 

I 

E 

■ 

0 


2 


0 

2 


50 


e 
0 

** 

c 

? 

c 

0 

O 

c 

i 

c 
Q 


> 
c 
c 


I 

V 


8 

0 

u 

c 
c 
a. 


p 

z 


51 


Daphnl.     Klosterhof 


Daphni 

Cloltre  du  couvent  de  Daphnl 


Daphni  .    Convent  Yard 


52 


Klosterklrcho  Kasarianl 


Caesarian!  Convent  Church 


Chapelle  du  couvent  de  Kassariani 


53 


c 

£. 

a 

(0 
Q 


c 
r 
a 

(0 

D 


c 
a 

(0 

0 


54 


c 

a 

<o 
Q 


c 

£. 

a 
0 
Q 


c 
r 
a 
c 
Q 


55 


Daphni 

Kirchenlnneres 


Daphni 

Interior  of  the  Church 


Daphni 

Interleur  de  I'eglrse 


56 


Daphni 

Kuppelmosalk  ca.  1100 


Daphni 

MosaTque  da  la  coupolo,  en  1100  environ 


Daphni 

Mosalk  In  the  Cupola  ca   1100 


57 


1 
E 
i 

(J 


c 
t 
o 
0 


3 

E 

i 
-i 


r 

c 
*c 
o 
U 
c 

XI 

« 

E 


0 

a 

o 
c 

0 

U 


C 

c 
o 

Y. 

C 
0 

> 

to 

3 

E 

£ 
0) 


g 

1 

c 


58 


c 
■c 

8 

0 

££ 
0* 

U| 

a 
2 

c 
« 
E 


£ 

s 

o 

8 

E 
U 

I! 

0  £ 

5j 

9 

« 


£ 

c 

0 

2 
E 


0 


I 

I 

E 


59 


UJ 

z 

e 

o 

I- 

£  I 

c  © 
u  «' 

a 

E 

i 
h 

o 

0 

a 
< 


c 

& 
n 
0 


o 

z 


r  S 
c  > 

o  ? 
¥  2 


o 
a 
< 


60 


u 

ID 


£ 


is 

0  E 

Of 

! 


1 


u 


£.  a 

II 

0  « 

U  I 


a 

o. 


c 
u 

x: 
c 

"J 


C 


E 

1 

a 

< 


61 


0 

c 
I 
c 

c 

i 

t 
c 

s 

II 

ID 

■ 
3 
O 

I 

c 
o 

t- 
3 
0 

w 


a 

c 
a 
a 
c 
i 

c" 

r  a. 

*•   V 

m 
3 
(I 

£ 

e 

3 

0 


62 


I 

O 

I 


I 
I 


o 

2 
c 


■ 

i 

c 

I 

c 

£ 

E 

3 
V 

h. 
3 
I 

| 


■ 
c 
I 
3 
c 
Z 

£ 

I 


63 


Korinth 

Quellhous  der  Pelrone 


Corinth 

Source  House  of  the  Peirene 


Corinthe 

source  de  Peirene 


&A 


of 


6 

3 
O 

•5 

h  • 

C  -o 

"l.  c 

0  " 

U8 


ij 

*   J 

0 


65 


in 

i 

U 
■ 
9 

£ 


0 

0 
0 
u 
0 

< 


c 


9 

<° 


c 


0 

2 


3 

n 


66 


I 

c 

0 

O 


5 

c 

E 

o 

E 

> 


■ 
e 
U 
• 

0 

S'l 

u 


I 
* 
\ 
S 

Q 

I 


^ 


« 
T) 

C 


c 
c 

c 

0 

> 
u 


£ 
C 

t 
o 

< 


3 
C 


67 


2 
i 

E 

OJC 

II 


in- 

0 


0 

u 

0 

l- 

u 

< 


c 

0 

>c 

v  (D 

Is 

CD  CO 

.  c 

T   • 

0° 

*e 
If 
< 


3 

B 


68 


-»•**- 

•  •  at*' 

HN^HI 

H|.  I'jB^^rflH 

f 

*    ' 

1  l 


:V 


0 

c 

£ 

in  -5 

III 

19 

8 1* 

0  ©* 
*-  r  3 

<5 


o 
2 

6 
\- 

X 

<if 

rO 


ill 


5 

a 


5 

r 

C 

t 


c 

| 

O 

a 


| 

is 

u  * 
<  5 

J  J 

c 
E 
E 
2 

3 

• 

3 
> 


C 
V 

c 

•DC 
If 

c  c 

If 


69 


SI 

c  _ 

u 


0 

> 


c 

0 
T> 

o 
in 

(D  ? 

I' 

o 

a 
E 
< 


70 


£> 

<D    o 

©  o 
u  a 

H 


0  D 

^  1 
2f 

c 
I 

a 


c 
a 

3 
0 

C 
0 
> 

a 
«  • 
C  a 
ID  • 
.¥  a 

$* 


8 
a 

a 
Q 


71 


Lowe  von  Charonela 


Lion  of  Chaoronola 


Le  Hon    de  Cheronela 


72 


0 

• 
a 
E 

o 


r 


V 

a. 
£ 

2 


« 

n 

B 

e 
ID 

c 
o 

> 

I 

£ 


I 


73 


Nauplia 


Nauplia 


Nauplia 


74 


. 


^    ^  ** 


mv-** 


wmmmm^m^ 


Befestlgte  Insol   bel  Nauplla 


Fortified  Island  near  Nauplla 


He  fortlflee  pres  de  Nauplla 


75 


m 
2 

! 

£ 

J 

n 

c 
5 
a: 


I 


i- 

c 

0 

E 


0 

c 

c 
a 

S 

a 
e 

c 

D 
IT 


n 
O 
a 
a 
> 


c 
I 
c 

K 

£ 


C 
0 

N 
>. 

OQ 


76 


n 
0 
C 

ot 

0 


e 
a 


! 


u 

! 

i 


0 

a 
>. 


e 
a 


77 


a 

3 
0 

z 

c 
e 

c 

c 

0 


01 

> 


0) 
V 


c 

0 

1 

1 


a 

3 

a 

z 

« 

c 

0 


I 


78 


o 
a 

£ 
> 

0 

a 
c 

c 

c 

0 


c 

01 


« 
a 

E 
> 

0 


c 
0 

] 

01 


a 
E 
> 
0 


c 
8 
a 
« 
a 
c 
> 


79 


Mistra 

Kloater  Pantanossa 


Mistra 

Pantanossa  Convent 


Mistra 

Couvent  de  Pantanossa 


80 


Mistra 

Klrcheninneres 


Mistra 

Interior  of  trie  Church 


Mistra 

Interieur  de  la  chapelle 


81 


r 
o 

L.     0 

S.fi 


« 
a 
c 

r 

(0  ° 


C 


10   c 


82 


O 

A 

i_ 
0 

i 


a 
a 

« 

U 


«    C 


s 

c 


i_    c 

5$ 


83 


Mistra 

Relief 


Mistra 

Relief 


Mistra 

Relief 


84 


(fi 

2 


85 


Mistra 
Burgmouern 


Mistra 

Citadel  Walls 


Mistra 

Murs  de  la  forteresse 


86 


Mistra 


87 


Olympia 

Zwel  Saulen  vom  Tempel  der  Hera 


Olympia 

Two  Columns  of  the  Temple  of  Hera 


Olympia 

Deux  colonnes  du  temple  d'Hera 


88 


D 


i 

M 
I? 


■ 

a  " 
ES 

OS 

• 
t- 


a  ? 

>  a 


0 


89 


m 

V 

i 

a 

G 

E 

■ 

> 

r 

0 

0 

n 

0) 

CD 

0) 
0 

e 

T> 
« 
U 

(0  -e 

I1 

t  a 

D 


(0 

i 

a 

E 

E 

0 

> 

5! 

D 

6 

B 

2 

E 

3 

90 


■ 
c 
o 

a  | 

!* 


■ 

id  I 

k 

0  « 


2 

a  ? 
|1 

< 


91 


Olympia 

Aphrodite- Kopfc  hen 


Olympia 

Aphrodite,  small  head 


Olympia 

Tete  dAphrodite 


92 


Olympia 

Athena-Kopf  (von  olner  Metope 


Olympia 

Athena  head  (from  a  metope) 


Olympia 

Tete  dAth'enee  (d'une  metope) 


93 


Olympia 

Hermes  des  Praxiteles 


Olympia 

Hermes  of  Praxiteles 


Olympia 

Hermes  par  F?raxltele 


94 


Olympia 

Nike  des  Paonios  420  v    Chr. 


Olympia 

Nike  of  Paeonlos,  420  B   C 


Olympia 

Nike  par  Peonlos,  420  avant  J    C 


95 


Olympia 

Herkules  (von  etner  Metope) 


Olympia 

Hercules  (from  a  metope) 


Olympia 

Hercules  (d'une  metope) 


96 


Olympia 

Athena  (von  elner  Metope) 


Olympia 

Athene  (from  a  metope) 


Olympia 

Athenee  (d'une  metope) 


97 


2  5 

(0  o 

■t  -9 

(0  « 

(L  I 


SI 


98 


c 
ID 


■ 

8 


L 
C 
> 

Z 

o 

I 


99 


V 
0 

I 

r 

Q. 
O 

D 

£ 
o 

> 


c 

0 
01 
<D 

a 

Z 
a 
c 
0 

c 

-X 

o 


100 


1 

0 

? 

< 

E 

p 


as 

i  g 


E 


3 

1 

3 
g 

0 


o 

a 

E 
< 

V 

■ 
• 
c 
B 

a 
■ 

©  c 

0  a 
0  • 

• 

3 
O 

a 

? 
o 
o 
a: 


S 

B 

E 

< 

c 
o 
> 

• 
2 
c 
e 

£ 

a  a 

n 


3 

■D 

C 
3 
IT 


101 


r-/^'ii  l^^i^^s 


' 


1^_^**V,  —  r  '  "*: 


' 


-..'>*"- 


•%. 


Delphi 

Apollo-Tompel 


*#k 


Delphi 
Apollo  Temple 


Delphes 

Temple  d'Apollon 


102 


£ 
c 


11 

Q  « 


■ 

9 

I 


Si 

a>  § 

a  e 

c 

3 
V 

I 

i 

E 


1 
c 
• 

._  • 

I« 

I  ■ 
Ql 

• 


in 

a 

c 


103 


1 
c 
« 

c 

9) 

a< 

q: 

0 

« 

I 


I 
c 
» 

in  -e 
fl)  £ 

-5  < 

9-m 

0)   • 

0* 


c 

c 

_  r 

£  < 

a: 


i 
r 


104 


c 

1 
c 
It 
r 


3 
0 

El 

Q  g 


I 

V 

O 

u 
« 


■ 

1 

f 

! 


H     D 


1 

C 
1 

2 


c 
« 

3 

0 

3? 


I 


r 


I 


0  ? 


8 


105 


Delphi 

Kopf  des  Wagenlenkers 


Delphi 

Head  of  the  Charioteer 


Delphes 

Tete  du  conducteur  de  char 


106 


u 

ait) 
.0 

& 

.» 

a  t> 

C  u 
U0 

,o 

Dig 
„.? 
?3 

DO 

if 

I-  c 

I 

II 


oS 


Is 

■ 
i 


0 

if 

-)  o 

.  CO 

I 

a 


■*-  a 


«= 

C  0 

«i  a 
1< 

f  I) 

|l 

5» 


U 
"i 

i  « 
»5 


*3 


■ 

0) 

$! 


SR 


o.o 

*  n 
l| 

E8 

•  b 


J 


107 


Delphi 

Bllck  ous  dem  Schatzhaus  der  Athener 


Delphi 

View  from  the  Athenian  Treasure  Hous 

Delphes 

Vue  prise  de  la  malson  du  tresor  des  Athenlens 


108 


Delphi 

Saulentromrnel  mlt  Buck  auf  das  Gymnasium 

und  Mermsrton 


Delphi 


Column,  with  view  of  the  Gymnasium  and 
Marmarlon 


Delphes 


Tambour  a  colonna'  avec  vue  sur  le  Gymnase  at  Marmarlon 


109 


I) 

X 
0 
0 

£ 

01 

c 

c 

_  r 

r  ") 

Q.  « 

s 

E 
2 
■d 
a 


B 

9 

0)  r 
(D   o 

£  2 

(D   ® 

> 

10 

c 

0 
T> 
0 

5i 


c 

0 

7  o 

a  c 

(D  * 

Q! 

c 
o 

0 


110 


r  c 

n   » 

3 
0 


£  • 

a  3 

®> 

0 

1 

3) 


c 
o 

I 
c 

&1 

&* 

c 
o 
v 
S 


m 


<0 

> 

0 

<D 

id 
< 


112 


0 
ID 

(0 

c 

L 

(0 
Q. 


CD 

•<o 

(0 
(0 

c 

L 
10 

a 

_l 


in 
c 

c 

L. 

(0 
D. 


113 


Kloster  Hoslos  Lucas,  Hof 


Hosios  Lucas  Convent.  Yard 


Couvent  d'Hoslos  Lucas,  le  clOltre 


114 


Kloster  Hoslos  Lucas 


Hosios  Lucas  Convent 


Couvent  d'Hoslos  Lucas 


115 


0 

a 
a 
U 


> 

c 

0 

c 


3 
j 

9) 

C 

i 

0 

I 


0 

a 

3 
0 

0 


o 

3 
J 


0 

I 

V 


> 

3 
0 

0 


a 
a 

3 
Y. 

ID 
10 

o 

3 
_l 

10 
0 
a 
0 

I 


c 
X 


116 


c 

> 
c 

0 

u 

if 
9 

I 


0 
1 
0 

I 


I 
(J 

-I 
■ 
0 
en 

0 
I 
V 


> 

D 
0 

0 

3 
X) 

3 
I 
C 
{ 

C 


I 
9 
5 

_j 
■ 
o 

I 

I 
I 


0 

z 


117 


Kloster  Hoslos  Lucas,  byzantin.  Kapltoll  Hosios  Lucas  Convent,  Byzantine  Capita! 

Interieur  du  couvent  d'Hoslos  Lucas.    Chapiteau  byzantin 


118 


Kloster  Hosios  Lucas,  Engel-Mosaik  Hosios  Lucas  Convent.  Angel  Mosaic 

Interieur  du  couvent  d'Hosios  Lucas.    Ange  en  mosaYque 


119 


Chalkis 

Byz.  Lowenrellef 


Chalcis 

Byz.  Lion  Relief 


Chalcis 

Relief  de  lions  byzantins 


120 


(0    • 

r  o 
02 


to  i 

ffl  8 

r  o 

U5 


121 


Pharsalos 

Mittelalterllches  Haus 


Pharsalus 

Mediaeval  House 


Pharsale 

Maison  du  Moyenage 


122 


(0 

3 

(0  c 
(0  t 

I-    D 

(0  i/> 

r 
BE 


(D  m 


(0 
<n 

10 
£. 

Q_ 


■ 

B 
I 
c 
j 

c 
1 

1 

0-8 


123 


Volo 

Bemoltes  Grabmal 


Volo 

Painted  Tomb 


Volo 

Tombeau  d6cor6  de  peintures 


124 


Theseus  und  Antlope  vom  Giebel 
des  Apollonternpels  In  Eretria 


Theseus  and  Antiope  from  the  Pediment 
of  the  Apollo  Temple  In  Eretria 


Thesee  et  Antiope,  du  fa'te  du  temple 
d'Apollon  a  Erythree 


125 


Haus  In  Ana  Volo 


House  In  Ana-Volo 


Maison  a  Ana-Volo 


126 


Hlrtenknabe 


Shepherd  Boy 


Jeune  pfttre 


127 


0 

£ 
I 

c 


■ 
■ 

o 
U 


( 

E 
i 
Q 


01 

•0 


3 

! 

0 

a 


E 
1 

Q 


a 

c 

ID 
01 

E 

3 

c 

ID 

C 
0 


128 


1 

C 

3 
0 

o 

c 

"C 

u 

0 

2 


o 

c 
■c 
u 

0 

2 


? 


E 
o 

c 
D 


c 
« 
c 

C 

CD 

e 

a 

c 
r 
jt 
a 
2 


129 


3 
IB  • 

o£ 
10  Q 

o.= 

"  10 

c  o 

0:* 

CI  • 


r-  0 

0,1 


n 

0 

? 

0. 


I 

IE 
V 

■ 


*8 

c_ 

0  ID 
f| 

1-1 

c- 

0)0 

cr 

t>  o 

■OjO 

°« 
>  0) 

^tL 
ID 


130 


c 

c 

I 
11 

c 

0 

a 
g 

c 
fi 
u 
>J 


G 

I 


i) 

a 

c 
r 
u 
a 

2 


c 

2 

c 

Q. 

£ 

« 

a 

c 
c 

a 

5 


131 


a 

o 

0 
t_ 
0 
0) 

i 

2 


0 

■ 

a 

2 


■ 

0) 
(0 


0 

0 
T3 


o 

0 


0 

m 

a 

ID 
D 
O 

« 


I! 


0 

0 

5 


(0 


0 

Q 


132 


I 


0 
0 

1 

2 


0 

c 


e 

e 

c 

1 


f 

m 
c 

0) 

c 
• 

D 
0 

z 


c 
I 

1 

o 

0 

1 

1 

5 


133 


Verlassene  Meteorakloster  auf  Felson  Deserted  Meteora  Convent  on  Rocks 

Couvents  abandonnea  sur  les  rochers  de  Meteora 


134 


Dorf  Kastraki 


Village  of  Kastracl 


Le  village  de  Kastraki 


130 


Meteora 

Bllck  von  Hag-Barlaam  gogen  Sudan 


Meteora 

View  from  Hag-Barlaam  towards  south 


Meteora 

Vue  de  Hag-Barlaam  vers  le  sud 


136 


Kloster  Meteoron  1388  gegrundet  Meteore  Convent,  founded  1388 

Le  couvent  de  Meteora.  fond*  en  1388 


137 


&fl»- 


#& 


3fc 


w 


I 


-  «^ 


(0 

L 

< 


■ 


*%&&* 


&t  *  ^ 


4t*f; 


138 


5 
< 


139 


Arta 

Kapltell 


Arta 

Capital 


Arta 

Chaplteau 


140 


Lowenrellef  ous  Salonlkl 


Uon  Relief  from  Salonikl 


Relief  de  lions  a.  Salonlque 


141 


0 


I 

i_ 

0 

(fl 

ID 

u 


142 


a 
> 


• 
a 
E 

(0  S 

JO    a 

<0   V 


CO 


143 


0 

_  E 

H 

10  o 
0)  ° 


■ 
u 


I 
c 

E 

ID 

Q 

I 

u 
0 
t> 
ID 

0 

o 

c 
c 


144 


e 
I 

'v     > 

c  6 

(0  .? 

t-3 


-5 

oS 

if 


8? 

ml 


145 


Saloniki 

Seltenschlff  der  Hogla  Sophia.   5.  Jahrh. 


Saloniki 

Trtnsept  of  the  Hagla  Sophia  5  th.  Cent 


Salonique 

Nef  laterale  de  Salnte-Sophle,  5  *ms  secle 


146 


Saloniki 

Demetrtos,  Renarssancegrab 
des  Lucas  Spandonis 


Saloniki 

St   Demetrios,  Renaissance 
Tomb  of  Lucas  Spandonis 


Salonique 

St.  Demetrius.   Tombeau  do  Lucas  Spandonis, 
datant  de  la  Renaissance 


14  7 


Saloniki 

Turk.  Moscheo 


Saloniki 

Turkish  Mosque 


Salonique 

Mosquee  turque 


148 


Salon  iki 

Sogen.  ..Rotund©"  (St  Goorgsklrcho)  mlt 
Minarett  und  turklschen  Grabern 


Salonikl 

So-called  ..Rotunda"  (St  George's  church) 
with  Minaret  and  Turkish  Tombs 


La 


Salonique 

(Egllse  St  Georges)  avec  le 


..Rotonde' 

minaret  et  les  tombeaux  lures 


149 


Saloniki 

Hagla  Sofia  5.  Jahrh. 


Saloniki 

Hagla  Sofia  5  th  Cent. 


Salonique 

Salnte-Sophle,  V  •  siecle 


100 


Saloniki 

Baptlsterlum 


Saloniki 

Babtlsterlum 


Salonique 

Baptist6re 


151 


fi 


en  3 

c 

0 
II) 

H 


s 
«) 

o 
XCo 

%* 
(0  § 

05  a 
4 

u 


152 


I  g 
r  ° 

i  • 


• 

ID  « 

&;• 

C  u> 

05 
(0  o 

«: 

c 


153 


o 

D 
0 

(0  <" 

0  «> 

■ 

o 

01 

a 

I 


0«S 


tt) 


I 

0 

b 

3 
0 
CO 


0 

e 

| 
z 

»> 

0 
0) 

« 

I 


154 


0 

« 

c 
0 
M 

c 

0 

A 

L.     ~ 

0  J 

j 
o 
u 

c 

a 


3 
0 

iC 

L. 

0 

U 


cr 

c 
c 
3 

C 

o 
£ 

■ 

■ 
o 

s 


c 
e 

6 

e 
c 
U 


c 
o 

-V 

i 


.3* 

i-    <n 
0  £ 


a 

.i 

I 

0 


155 


. 


.     0 

in  o 
0  o 


2 
o 
0 


w  5 
(0  » 

el 


156 


5 

E 

o 


o 
n 

0 

I 

o 

£ 
0 


X) 

3 

a 

D 

o  ' 


c 
c 

1 

£. 
0 

o 


157 


oi1- 

<D   « 
<l 

a 
< 


a 

r 

(0  < 

£? 

0)  o 
<D  a 

<  E 

■ 


I 
a 

<d  e 

C  e 

S1 « 
< 


158 


°>« 
0)   « 

<« 

a 
< 


■ 

<0  < 
£  * 
0)  e 
0  a 

5 


«  E 

a 
< 


159 


10   t 

oi  a 
< 


| 

I 

> 


C  a 

"o>< 
0  ti 

<  e 

a 
E 


3 

D 

■ 


0 

m 
a 

D 

3 
o 

1 

(0  Q- 

C  E 

~  • 
0)1- 

0  0 

<2 

a 
< 

E 
o 
> 

X 
O 


160 


(D   ai 

of 


« 


SI 
Si 


161 


a 
<n  a 
0  ° 
X    ID 

iO  £ 
Z  j 


x  ° 
it)  « 

z  « 

x 

0 

z 


I 

X 

t> 
(0  z 

Z.  a 

3 
10 

I 


162 


■ 

0 
c 
>% 

in 

6 
i 
I 
1 

_    OL 

Wf 

a 

D 

E 


a) 


■ 


p 

>. 

J) 

6 
I 


a 

o 

£ 
c 
c 

I 


1 

I 

0) 

6 
« 

</>  ? 
a 

3 

E 

c 
I 

I 


163 


(J) 

«S  £ 
c  « 

I—    i 

E 


I- 


c 
c 

x> 

(D    C 


f 


164 


i 


(0  0) 

i_ 

<D  £ 

z 

E 
o 


en 
e 


is  » 

f 

o 

c 

3 

• 
> 


£ 

E 


3 
(D 
■ 
ij 

iD 
I 

o 

2 
c 
5 


E 
E 


165 


V  • 


fm 


Thera 

Wlndmuhle  In  Merowlgli 


.      :*/* 


Thera 
Moulin  ■  A  vent  6  Merowlgli 


"••©^ftsT 


Thera 

Windmill  in   Merowlgli 


166 


E 


j 
(i 
8 

1 
i 
11 
c 


4 

< 


£ 

E 


5$ 
h5 


167 


Thera 

lm  Kloster  Hoslos  Ellas 


Thera 

In  the  Hoslos  Ellas  Convent 


Thera 

Le  couvent  de  Si    Ellas 


168 


Thera 

Aufstieg  nach  Phira 


Thera 

Ascent  to  Plra 


Thera 

Ascension  vers  Phlra 


169 


If) 
(0  e 

r  in 

i 
> 
c 
o 

0 


ID 

*-  S 
(1)  J 


o 


170 


I 

■ 


id 


0) 


£1 


c 
z 


> 
J 

0 

u 


a 
x 
(I) 

c 

a  u 

M 

c 
a 

c 
c 
o 

z 


171 


Chios 

Strasso 


Chios 

Street 


Chios 

Une  rue 


!72 


Chios 

Strasse 


Chios 

Street 


Chios 

Une  rue 


173 


"I 
g 

CL 


i-   0 

US 

ID 

r 
0. 


i 

EL 


■ 

a 
a 


B 

c 


(0  <" 

2  2 

V  — 

-*-   10 

E 

c 
o 

> 


ID 

s 
g 

1 

0 

c 

0» 

o 


1] 

u 


I) 
£ 

in 

3 

■ 

£ 

II 


01 

u 
a 
I 
o_ 


x 

a>  o 


U 


c 

0 

a 
a 
i 


o 
a 


a 
2 
E 

c 
o 
> 


(0 


o 
s 

£ 

a. 

n 
a 
o 
a 


175 


l/Vb/W'tit 


■ 

s 

o 
0 

<"  if 

-4-'     U 

1-    o 

U  • 
u 

2 


0 
A 
0. 


id  a 

u 

1 
a 
o 
a. 


176 


ENVIRONMENTAL  DESIGN  LIBRARY 

210  Wurster  Hall  642-4818 


